Swam Out by HYLA
Following on from their brilliant 2015 five track EP release ‘Fever Calls Late’ and their last single, 2016's stunning 'Chaos For You' Perth based noisy shoegazers ‘HYLA’ are back with a brand new single entitled ‘Swam Out’, lifted from their forthcoming highly anticipated full length debut album 'OSAKA' penned in for release over the next few months. 'Swam Out' is available to buy/download right now from hyla.bandcamp.com
'Swam Out' swirls into the ether tumbling gracefully on a beautifully iridescent guitar progression and a throbbing bass line thats underscored by steadying percussive swagger. It's sublime lead guitar lines soar and drone blissfully throughout the piece deftly circumnavigating that gloriously hazy vocal line. We're looking forward to the full release.
by Primal Music
Fever Dreams by Mirror Mirror
Washington based psych/no-wave outfit 'Mirror Mirror' have released a brand new track entitled 'Fever Dreams' via the bands bandcamp page. Jason Campbell's distinctive brand of swirling psych infused soundscapes are peppered with swirls of no-wave simplicity underscored by driving post punk flourishes that collectively meld into a brilliantly melodic ball of dark sonic energy. 'Fever Dreams' was released on the 5th March 2017 and you can buy/download it right now from mirrormirror.bandcamp.com
ARTIST: Moon Gravity
RELEASE DATE: 27th February 2107
RECORD COMPANY: Silber Records
The cool sounds of ice particles floating in the air has been captured in sonic form by Stockholm's 'Moon Gravity'. The three track release, Antarctica, glides in glacial beauty. It was officially released back on the 27th February via Silber Records and is available to buy/download right now from moongravity.bandcamp.com
Antarctica by Moon Gravity
Iridescent layers spiral round the eardrum in Nightfall. A faint drone ebbs and flows in Snowstorm, before sharp shards of guitar build into something substantial. A dusting of vocal adds to the atmosphere and it gets truly deep and dark when the bass kicks in. The cosmic rays of Purpling spread out into the wintry sky like the Northern Lights.
ABOUT THE AUTHOR:
In her time, Sarah Cuthbert-Kerr has attended raves and rock clubs. She enjoys pedals, pizza and spy dramas. Sarah also plays guitar in Edinburgh-based noisemakers Wozniak and is co-founder of Morningside Young Team who put on gigs and put out records for discerning audiences who enjoy fuzz and confusion.
ARTIST: Rancho Relaxo
RELEASE DATE: 10th May 2017
RECORD COMPANY: Wrong Way Records
One of our favourite bands here at Primal Music, Norwegian based 'Rancho Relaxo' have announced a brand new five track EP entitled 'Polarized', penned in for release on May 10th 2017 via the ever reliable 'Wrong Way Records'. 'Polarized' is the bands eight release & it again epitomises their unique talent of sonic experimentation by creating whirlwinds of intense electronically charged psych intertwined at times with subtle spaced out kraut rock tones. The album has the pleasure of being touched by the bands brand new 60's rhythm ace drum machine which completely turns their overall sound on it's head thus creating a sublime collection of tracks that are worthy of your ears. It is being exclusively released as part of 'Wrong Way Records' Blacklist 100 Series and is available to pre-order right now on lovely 12' hand numbered black vinyl via wrongwayrecords.bandcamp.com
Rancho Relaxo - POLARIZED - Blacklist 100 by Rancho Relaxo
‘Spooky Satisfaction At A Distance’ arrives into the ether held fast in a repetitious percussive swagger as its soaring synth swells echo and drone meticulously as if held in a continuous sonic stasis. Angry guitars growl and belch out distorted atmospherics whilst its haunting vocalisations swirl through swathes of gratifying reverberation. It is a sublime opening track filled with intensely hypnotic instrumentation that streams effortlessly through layers of blissed out electronically charged modern psychedelia. ‘Augen Zu’ drones and swirls into audible range strapped to sequenced electronic percussion and a deeply repetitive guitar progression. This track builds through each chord change brilliantly as underlying synth swells buffer and harass those hypnotically charged vocal lines with stunning aplomb. The arrival shimmering tambourine hits and undulating shakers add instant atmosphere as those cascading synth lines loop and arc through clouds of reverb like some sort of sonic hallucinogen. ‘Augen Zu’ is sublimely addictive and is probably my favourite track on this entire release.
Up next, ‘Life & Death’ billows effortlessly through infectious guitar progressions, gyrating organ lines and distant vocalisations that collectively ripple and surge through spiralling production and woozy denouements whilst swirling frequency laden sonic tendrils reach out to wrap themselves around sequenced electronic drum patterns as ‘Tell Me Something’ enters earshot draped in a hazy veil of droning instrumentation that melds effortlessly with atmospheric swells of synth & guitar. The arrival of distant reverb drenched vocalisations add depth to the track as it’s snaking percussive thrills dance and skip on a bedrock of iridescent bass frequencies and vibrating mechanical sound waves. The EP’s closing piece growls and fizzes into earshot on a wave of punishing feedback driven guitar squall. ‘My Girl (Spoken)’ shudders precariously on a kind of metronomic percussive precipice as throbbing bass frequencies hold court underlined by electronic beeps and whirrs that accompany an up front vocal line. Noisy guitars circumnavigate the entire piece emitting a menacing atmospheric hue to proceedings as the track rises and falls hypnotically through stunning vocal samples and swirling clouds of reverberation. A fitting end to a bloody marvellous EP.
Del Chaney has spent the last four years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk, post rock & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.
ARTIST: Fools Ferguson
RELEASE: Dead Lines
RELEASE DATE: 27th January 2017
RECORD COMPANY: Unsigned
The real, meaty, heavy side of dreampop/shoegaze music is shown; teeth-baring, wild and beautifully sludge-filled on the album 'Dead Lines' by Fools Ferguson. But even the heaviness and wall-of-sound like musical qualities are contrasted on the release by dreamy, wavering passages of music; strung together with FX, keys and a unique vocal style. Together these elements mix in with touches of post-punk revival and alternative rock to create quite an original group of sounds, genres and thoughts in the shape of music.
Dead Lines by Fools Ferguson
The album opens with the lengthy, over eight minute epic ‘Altered States’. It’s beginning showcases the aforementioned heavy side of alternative, dreamy music; guitars and drums link together to create a wide and tall sound and the use of the subtle sound of keys underneath the mix stir together to create a truly memorable intro to the song. The vocals are, unlike many dream pop/shoegaze bands, fully visible in the mix of the music. This allows for an interesting contrast and connection between the vocals and the synths/keys across the course of the song. A pounding drum machine manages to keep the song rolling along at a steady and patient pace, and occasionally a piece of technical wizardry or synth swirl will accompany the sounds on the song even further. It is true that the greatest parts of ‘Altered States’ are the creatively engaging instrumental pieces; built to convey images and emotions through chords and contrast. Turning things completely over in sound is the much more upbeat and shiny ‘Room and Roses’, which takes on a more pysch-rock influence while maintaining enough of an air of dream pop to remain slightly familiar. ‘Room and Roses’ is in fact a ridiculously catchy, well-written and brilliantly performed song. That’s about all I have to say about that. ‘Room and Roses’ is followed by the brilliant, post-punk revival sound of ‘Crystal Castles’ as much of an album highlight as ‘Room and Roses’, the song sees the band turn to the crux of classic post-punk music; equipped with thick bass lines, the double tap snare and hi-hat dance sound of the percussion, and the intricate, weaving sounds of guitar. It’s an enjoyable and interesting song that seeps more and more into a darker sound as it goes on; culminating in a heaviness of a different kind to the albums opening.
‘The House of Love’ slows everything down into a more pop orientated sound that even features an acoustic guitar! The verses seem to be a weird combination of synthpop (where keyboard lines bounce around on the riff) and alternative rock, making parts of the song seem uneven or perhaps even under written. The chorus is fantastic; featuring a great but simple riff that captures the essence of dream pop music in only a few notes/chords. Another album highlight is the epic, seven minute piece of dream music ‘Wild Sides’ which blends together dark, timid soundscapes with the previously explored structural elements of post-punk music. For most of the song, the music churns and churns in a kind of minimalist way, underpinned by the slow synth movements underneath the song. The vocals are more akin to traditional dream pop/shoegaze music; drowned and FX’d above the music; soaring and drifting in a kind of contemplative manner. ‘The Black Star…’ turns thing back to a more ‘Room and Roses’ kind of sound; although it appears less upbeat and catchy in its performance and style. The chorus really highlights a swift kind of ‘neat and tidy’ aesthetic the band have been hinting and playing at through the course of the release. By ‘neat and tidy’ I mean that the guitars and rhythm section all stay together tightly and neatly in a kind of package wrapped in FX, sounds and noise, rather than presenting a full frontal, wild and unformulated kind of noise or drone. ‘Something Outside’ ties in with other epic songs on the album in its length, height and even its weight. There is a fantastic bass guitar riff that guides a majority of the song, punctuated by the occasional free-jazz inspired drum tapping, but overall the entire thing sort of seems like a thrown together-distant piece of music that shows an occasionally interesting passage of sound or thought. ‘The Alohama Lakes’ turns things around yet again, creating a slow and yearning piece of heavy dream pop music. It’s an album highlight and one of the most prominent songs on the album that sounds fully developed and rehearsed by the band themselves. In fact, ‘The Alohama Lakes’ is a fantastic example of the kinds of songs and sounds the band create at their greatest and most inspired points of the album.
'Dead Lines' is certainly an interesting album from a talented and equally engaging band that seems to borrow elements across all sorts of genres of alternative music. But that can’t blend out the fact that this release seems uneven and fluctuating in its sincerity. There a few fantastic, brilliant tracks where the band show they’re skill in song writing and crafting, tied together even more so by brilliant performances. But even these said tracks vary so much in stylistic and conceptual elements that you wonder at times if you are listening to the same band as before. I stated before how there are some elements that carry from song to song, such as tones, distinct playing and kinds of sounds, but for most of the album these elements are not strong enough to resonate throughout the entire release. There were even times while listening to this where I thought how much powerful the songs would be if they were completely instrumental and there were other times where I wondered about where the song had wandered off to in context with the album. All these elements amount to what is referred to as ‘uneven’ or ‘muddled up’. But all this is not to say the band is without immense talent or skill. As stand alone tracks, a majority of the album sounds interesting and well produced. Furthermore, the bands skill is shown throughout the entire release through the avenue of performance; each instrument and sound melding fantastically together. This goes further to reflect the mixing in itself; brilliant, wild, subtle and amazing. I think this is very interesting and well-written music that you should here, but I also hope that Fools Ferguson reconvenes to consider how an album can flaunt their talents and skills as a complete package. They already have the talent and skill; it’s just about how you use it. Besides that, there is the many feature highlights, especially in the realms of production, performance and sound.
Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on the Australian heavy music blog, I Probably Hate Your Band.
ARTIST: Dead Sea Apes
RELEASE: Sixth Side Of The Pentagon
RELEASE DATE: 3rd April 2017
RECORD COMPANY: Sky Lantern Records & Cardinal Fuzz Records
Manchester based experimental psych aficionado's 'Dead Sea Apes' have returned with a brand new album entitled 'Sixth Side Of The Pentagon'. The band have been carving out their own rather special niche in a scene that strives on it's core principles of expansive and consciousness-altering guitar, bass and drum based compositions. 'Dead Sea Apes' have never easily fitted into a 'psychedelic scene' as such like so many of their contemporaries but have instead taken a different path to sonic enlightenment by experimenting with dub, electronic sequencing and mind altering reverberations that both thrill and hypnotise all at once. 'Sixth Side Of The Pentagon' is available to pre-order right now from skylanternrecords.bandcamp.com (US) or cardinalfuzz.bigcartel.com (UK) on standard weight black vinyl edition, 250 copies with full color printed inner sleeves & on CD.
Sixth Side of the Pentagon by Dead Sea Apes
Cavernous reverb peppered with echoing percussive delays swirl menacingly around the rise and fall of a repetitive bass line as ‘The Map Is Not The Territory’ kicks open the door to an atmospheric world of mesmerising (almost incantational) psychedelic dub. This track heaves effortlessly through moments of unrepentant experimentation as growling guitars ride soaring instrumental drones and deliriously off kilter drum patterns as its lead lines whip and harass the senses with wild sonic abandon. Up next, ‘Sixth Side Version I’ provides an atmospheric interlude before ‘Low Resolution’ staggers into earshot riding a resonating drone and slow moving bass line. Synth lines fizz as the tension builds and the track meanders through layers of reverberating lead guitar lines collectively battered by angry synchronised electronics. ‘Dead Sea Apes’ inject the twenty second long 'Sixth Side Version II' next, fitting another piece into the sonic jigsaw before unleashing the brilliant ‘Pale Anxiety’, my favourite track on the entire release. Slow moving drones swirl and loop around a snaking bass line as a repetitive percussive assault keeps a steady metronomic beat. The occasional delayed vocal line slips into earshot riding a turbulent processional wave of noisy reverb laden electronics, jittering effected guitar lines and the odd chopped brass sample that tumbles and dances through layers of echoing hypnotics.
‘Nerve Centre’ explodes into a cacophony of guitar stabs, intense ethereal vocal samples as wailing lead guitar lines and those off tempo drum patterns that collectively add billowing atmosphere. This track hangs suspended in the sonic ether, held fast in a whirlwind of undulating reverb and mind bending production. 'Sixth Side Version III' enters audible range and squeezes shuddering lo-fi instrumentation into a melting pot of spellbinding echoing delays whilst ‘Lo Res’ ambles into the ether tethered to a meandering bass line and it’s accompanying sequenced electronic theatrics. Glorious guitar progressions act like bedrock thus fixating this listener to their hypnotising sway whilst swirling bleeps and whirrs meld with immense production to bring us on a gratifying sonic adventure of immense proportions. The album twinkles and jitters in a golden hued haze before the opening salvos of ‘Tentacles (The Machine Rolls on)’ shatter the illusion and unfurl their sonic tendrils to intertwine brilliantly with a shuddering drum pattern, undulating bass progression and venomous lines of spoken word. Angry sequenced production gradually bubble up to the surface to circumnavigate the entire piece, draping it in resonating reverb laced snare hits and the constant gyrating throb of bass.
The album drags ‘Sixth Side Version IV’ out into the open to show us it’s final death throws before plying us with it’s closing soundscape. ‘Rectifier’ jangles and sways on a wave of fizzing synth, hypnotic bass and the repetitive pitter patter of steady metronomic percussion. Heady lead lines stream and glide in close proximity to those senses pummelling effected delays and the occasional stab of rhythm guitar as ‘Dead Sea Apes’ exhume every single morsel of hallucinogenic dub they can muster and fire it out into the sonic ether. A fitting end to a bloody marvellous album.
ARTIST: Alternative Facts V/A
RELEASE: A Shoegaze Resistance Compilation
RELEASE DATE: 17th March 2017
RECORD COMPANY: DKFM Shoegaze
Normally we don't cover compilation releases here at Primal Music. And it takes something really, really worthwhile and selfless for us to commit to reviewing one in full. But every once and a while something truly spectacular arrives in our inbox that is very very difficult to ignore. 'Alternative Facts' is a brand new eighteen track compilation of shoegaze & dream pop artists standing in opposition to tyranny. Half of the musical contributions to this compilation are new and exclusive, never heard before now. All proceeds from this album will be split evenly between Planned Parenthood and the American Civil Liberties Union & is the brainchild of Cory Osborne (Lightfoils/Panda Riot) & Greg Wilson (DKFM Shoegaze Radio) with support of dozens of talented musicians and graphic artists, and released as the only label issue from our brothers & sisters over on DKFM Shoegaze Radio. The compilation gets it's full release on March 17th 2017 and is available to pre-order right now from dkfmshoegaze.bandcamp.com
Alternative F̷acts: A Shoegaze Resistance Compilation by DKFM Shoegaze
This compilation opens up on a high, swirling deftly in a hazy ball of beautiful noise. ‘Whimsical’ have just released their latest sublime long player ‘Sleep To Dream’ via Saint Marie Records and here they unleash ‘Had I Known’ a noisy (previously unreleased) brute that sails effortlessly through growling instrumentation & tumbling waves of reverberation, topped off by the beautiful almost ethereal vocal skills of Krissy Vanderwoude. Up next, Milwaukee based ‘Brief Candles’ have lifted a previously unheard track from their forthcoming new album and supplied it specifically for this very worthwhile compilation. ‘Alarm Fatigue’ jangles and shines like a sonic beacon, filled with beautifully intense driving instrumentation, shimmering vocal lines and brilliantly executed composition. The ever amazing ‘Lightfoils’ appear here too with a huge track entitled ‘Retrace’ featuring Rebecca Scott on vocal duties. This track soars through blissful layers of impressionistic lead lines drenched in resonating reverb & underscored by that rambling bass line. Definitely one of the highlights on this release for me.
San Francisco based Lauren Grubb aka ‘To The Wedding’ takes a track from her brand new soon to be released EP entitled ‘Here And Now’, her first new music since 2014’s immense ‘Silver Currents’ and supplies it solely for this comp. ‘Brightest Light’ growls as it enters earshot trembling on a bedrock of noisy bass frequencies and an explosive percussive attack. Lauren’s vocals are addictively engaging as they meld effortlessly with screaming lead lines and sublime feedback laden instrumentation. The ever brilliant ‘Stargazer Lillies’ have taken time out of a busy touring schedule to record a brand new, never heard before track specifically for this compilation release. ‘Lets Kill Time’ is seriously addictive with it’s droning guitars and swirling instrumentation that deftly circumnavigates that sublime vocal line whilst the immense Californian based husband & wife team of Jenny & Joseph Andreotti aka ‘Fawns Of Love’ bring their dreamy brand of lo-fi shoegaze to bare with a brand new track entitled ‘Please’, hot on the heels of their recently released debut album 'Who Cares About Tomorrow'.
Chicago based ‘Panda Riot’ are primed to release their latest long player ‘Infinity Maps’ sometime in late spring. They have supplied a pre-release track specifically for this compilation and ‘Gold Lines’ doesn’t disappoint. It explodes into earshot held fast in a swirling ball of effervescent guitars and repetitive drum patterns as beautifully executed vocalisations float effortlessly into the ether underscored by throbbing bass lines and brilliant production. Up next, noisy San Francisco based shoegaze/dream pop outfit ‘Balms’ have graciously supplied a previously unheard track entitled ‘Nothing In’, lifted off their forthcoming debut full length release. ‘Nothing In’ sways and drives through streaming waves of explosive instrumentation that gyrates effortlessly around that highly addictive vocal track. This is so good and it leaves me in no doubt whatsoever that ‘Balms’ are definitely ones to watch out for in 2017. Wavy Chicago based ‘Lazy Legs’ are represented here with the shimmering ‘Crush’ a track that boils and rages in reverb laden splendour deftly undercut by that beautifully intense vocal line whilst California based ‘SHEER’ have donated a track from their soon to be released six track EP ‘Psychic Quarry’ penned in for release on April 28th 2017. ‘Room’ swerves into earshot raging blissfully in a tangled sonic ball filled with screaming lead guitars, throbbing bass lines, explosive drum patterns and a stunning vocal track. I’m really looking forward to hearing the full EP in April.
Dan Ballek (Mr. K’s Dream) & Paul Lopez (Spell 336, Sana Obruent) aka ‘Angel Falls’ supply a newly remastered version of ‘Touch The Sun’, a trembling reverb laced piece with steadying percussion, upfront vocals and a soaring chorus line whilst the ever reliable ‘The Foreign Resort’ have handed over the beautifully entrancing ‘Skyline-Decay’ for this compilation and it doesn’t disappoint. Hypnotic synth lines lead you into a false sense of security here and its not long before the band unleash a blistering electronically charged post-punk standard underscored by hazy shoegaze moments and a brilliantly executed vocal performance. ‘AEVE CVE’ is a new side project by Preston Maddox (Bloody Knives, S T F U) and he offers up a brand new track here. ‘Glassrain’ is explosive. It’s a menacing, electronically charged drum & bass behemoth with an undercurrent of growling bass frequencies and delicious sequenced synth lines. It’s fascinatingly euphoric nature will be a shock to most but what I’m really impressed with here is Preston's ability to experiment with different music genres to create brand new sonic adventures to explore.
Seattle based ‘Blackpool Astronomy’ are a band who don’t usually float my boat musically. They are however represented here with a rare alternate version of a track entitled ‘Safe Place’ lifted off their forthcoming new LP penned in for release later in 2017. Up next, the immense Minneapolis based ‘Chatham Rise’ bring their magical brand of psych induced shoegaze/space-rock to the party with a track entitled ‘How Do You Sleep’, a jangling cacophony of woozy reverb laced frequencies that float and twirl through layers of hypnotic instrumentation and gloriously hazy vocalisations. Alaska based ‘A Thousand Hours’ are a band who have peaked my attention of late and I’m on record as saying that at times they remind me of seminal US based outfit ‘For Against’ with their brand of driving post-punk hued shoegaze. For this compilation they give up the brilliant ‘Soon’, a shimmering effervescent piece drenched in reverb and overlaid with stunning vocals, soaring lead lines and throbbing bass frequencies. Definitely a track to float away with and having heard their forthcoming debut album in full I can safely say that it will be on many a music reviewers end of year list for 2017.
The compilations penultimate piece comes from Seattle based experimental noise pop outfit ‘Charlatan’ entitled ‘Still Life’ and it’s lifted off their latest ten track release ‘Supermax’. ‘Still Life’ is brash, angry and atmospheric. It swerves into earshot gyrating wildly in a feedback laden ball of fuzz and sequenced percussion, collectively drenched in stunning reverb. It’s vocals scream anti-establishment with their punk rock leanings, riding a turbulent wave of fizzing electronics. Bloody good stuff if you ask me. The closing track on this mammoth collection comes from the ever reliable Philadelphia based ‘Stellarscope’. ‘This Is How It Ends’ is an exclusive track specifically supplied for this compilation. It screams into the ether in a raging cloud of dissonance and discord. Soaring guitars and pulsating drum patterns envelope the instantly recognisable vocalisations of Tom Lugo, Stellarscope’s now legendary guitarist/frontman thus closing out a very interesting compilation of artists.